Patou Debuts in India: Creative Director Guillaume Henry on the Brand's Retail Launch at Galeries Lafayette

Last month, LVMH-owned Parisian maison, Patou, made its entry into India with Galeries Lafayette, Mumbai. This new space offers Indian audiences an introduction to Patou’s universe through a selection of ready-to-wear, accessories, and signature pieces. Moreover, the store reflects the Maison’s signature style through its hallmark materials —soft pink walls and furniture in recycled wood.

Founded in 1914 by visionary couturier Jean Patou and recontextualised under the creative direction of Guillaume Henry, Patou has long been revered for crafting iconic designs that reconcile elegance and craftsmanship, thereby sublimating everyday life. Bringing its seminal creations from the house's Paris atelier into the heart of Mumbai, the design house initiates an artistic dialogue between European couture heritage and modern Indian fashion sensibilities.

Robb Report speaks to Guillaume Henry on his design process, the Indian market, and his love for India. How was the process of making a transition from Nina Ricci to Patou, the two very distinctive design houses? "Surprisingly smooth and serene. Both are beautiful houses with a remarkable heritage, each reflecting values of elegance, creativity, and quintessential French chic."

RR: Which era in fashion history resonates with you personally and why?

GH: I’m glad you noticed the references. As a designer, I’m drawn to clothing archetypes, the foundational pieces that form the wardrobe. Personally, I’m inspired by all periods of fashion history, and each Patou collection draws from different eras. That said, I do have a particular interest in the ’60s and ’70s; they’re such an exciting time, the beginning of ready-to-wear, full of movement and energy.

RR: You named Patou's SS 26 collection - 'Joy' after Jean Patou's 1929 perfume. Nostalgia is having a big moment in fashion currently. Do you revel in it?

GH: I’m not really drawn to nostalgia. I prefer homage. I love creating for today, inspired by yesterday. And “Joy,” Patou’s legendary fragrance, feels more relevant than ever today. It’s exactly the kind of positivity we need right now. It's been an era of global brands' artistic directors revisiting their maison's archives.

RR: How much have Christian Lacroix and Karl Lagerfeld's stints at Patou impacted you?

GH: Thank you so much for mentioning them; they’re an essential part of Patou’s heritage. Jean Patou pioneered sportswear, and I love exploring movement in clothing as a way to honour him. Lagerfeld brought absolute elegance, Lacroix immense fantasy — together, they give the house so much richness and depth, which I try to honour in my work today.

RR: How do you align your own singular design worldview with the maison’s legacy?

GH: I like to think of Patou as a person. If Patou were a woman, she’d be someone I’d love to spend time with, a friend. Of course, I bring myself into the designs, but always in a way that feels natural for the house, like a shared language.

RR: Your ready-to-wear collections have time and again been sublimated by couture techniques. What's your vision for the brand ahead in terms of savoir-faire?

GH: Patou is true ready-to-wear, but the attention to detail is very important to me. I believe that “the devil is in the details”. Also, making sure each piece is crafted as beautifully as possible is my way of respecting the client. Even though the pieces are manufactured, they carry an extra touch of soul.

RR: With Patou making a retail foray into India, one couldn't help but ask you about your impression of Indian crafts and techniques?

GH: I’ve been lucky enough to collaborate with Indian artisans on embellishments and textures, and I’m always blown away by their creativity, technical skill, and innovation. It’s truly inspiring.

RR: Have you tweaked Patou's offerings to suit the Indian demographic's varying tastes?

GH: Honestly, not yet. But I’m really looking forward to visiting India. It’ll be a wonderful way to understand the market and the clients better, and to make sure our offerings resonate. I have a feeling we’ll connect beautifully.

RR: Who's the Indian Patou customer, according to you?

GH: She’s just like our clients everywhere else in the world: someone who is smiling!

RR: Have you ever visited India? Has an aspect of Indian aesthetic inspired you in any way ever, drapes or textiles, or any Indian Festivals?

GH: Yes, I visited Rajasthan about ten years ago and it was unforgettable: the colours, scents, beauty of the places, the craftsmanship, and the people. It inspires me every day, and the beauty of it is that it’s impossible to recreate.

RR: Do you see the launch here as an opportunity to discover Indian culture?

GH: Absolutely. Luxury's current focus is going back to the essence of crafts.

RR: What's your take on luxury and how do you interpret it?

GH: For me, luxury is something exceptional that feels effortless. Something that is complicated to create, but that appears simple and natural. There's been a collective push towards embracing sustainable production practices in the luxury space.

RR: Have you inculcated eco-conscious practices in your design process?

GH: From the very first collection, we’ve focused on sustainability using recycled, organic, and certified materials, even for our boutiques. It’s central to what we do, but at the same time, creativity and desire always come first.

RR: What constantly inspires you to design? Do you ever hit a mental block? How do you handle it?

GH: I think that curiosity drives creativity. I love exploring new ideas and letting myself be surprised. Of course, there are moments of doubt, that’s part of the magic of creation, but I remind myself how lucky I am to do what I do, and that helps me keep going.